Maurizio Donzelli was born in 1958 in Brescia, where he lives and works.
The poetical elements in Donzelli’s work have always focused on some key points of the artistic process: drawing, image revelation, the inesacapableness of the observer in defining the work, relationship between light and color.
The drawing practice is the intellectual and technical tool with which Donzelli compares artistic and philosophical reflection with the themes of image immateriality and temporariness, with its quality as an analogy, or, more in general, of transfiguration and transformation.
With regards to drawing, mention must be made of the performances of his Macchina dei disegni which between 1999 and 2004 were hosted in various Italian cities, in Germany, and in the United States; the performance titled Il contorno delle cose at GAMeC in Bergamo, 2003; the show titled La natura delle cose curated by Francesco Poli at the gallery Caterina Tognon in Venice, 2009.
Another tool to which Donzelli entrusts a conceptual role is the mirror (in fact, Mirror is the title of many of his works), intended as a lens of observation, alteration, and redefinition of perception in a constant temporal dynamic. In the artist’s vision, the mirror is also a metaphor tied to interpreting the world and our relationship with images.
Maurizio Donzelli has shown his Mirror on various occasions, including the exhibition at the Galleria Massimo Minini in 2007, and the shows curated by Axel Vervoordt at Palazzo Fortuny in Venice: In-Finitum in 2009 and TRA - Edge of Becoming in 2011, where the artist presented an important site-specific work: Aleph.
In 2012 Donzelli named his solo show, curated by Andrea Viliani, Metamorfosi, held at Palazzo Fortuny in Venice. For the event, he began to explore two equally autonomous though related fields. The first concerns the large wool and silk rugs knitted in Nepal, titled Giardini, which transfer the drawing theme into a horizontal dimension and develop the concept of mirror and the problem of the relationship between color and light. The second includes the jacquard tapestries, made in Flanders. Here the artist carries out an epiphanic research of the image, with evident references to doubling, to collage, to the kaleidoscope, and to the historical tradition of Flemish tapestries.
The recent solo shows Maurizio Donzelli a Palazzo Barbò, 2013, curated by Angela Madesani and Imenigma, 2013, and at the gallery Disegno in Mantua distill the iconographic themes of the previous events. Imenigma, 2014, is the title chosen also for the artist’s latest exhibition, curated by Alberto Dambruoso, at the gallery Giacomo Guidi in Rome.
For seven years, Maurizio Donzelli taught Theory of Perception, Psychology of Color, at the Accademia NABA in Brescia. He has also written extensively, including: Spettacolo di niente, Mazzotta, 2003, printed for the exhibition by the same title at the Calcografia Nazionale in Rome, curated by Luigi Ficacci; Lo sguardo del disegnatore, edizioni l’Obliquo, 2003; Metamorfosi, Mousse Publishing, 2012; Maurizio Donzelli, Shin edizioni, 2014.
Essays on the artist have been written by art critics and scholars, including: Vito Calabretta, Mariuccia Casadio, Alberto Dambruoso, Annette Dixon, Enrico De Pascale, Rachele Ferrario, Luigi Ficacci, Stefania Giazzi, Aldo Iori, Fausto Lorenzi, Angela Madesani, Mauro Panzera, Maria Perosino, Roberto Pinto, Francesco Poli, Cloe Piccoli, Francesco Tedeschi, Valerio Terraroli, Paola Tognon, Tommaso Trini, Andrea Viliani, Mauro Zanchi.